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apoetreflects: “And so I turned, canny for my years, from the professors to the poets, listening—to the lyric tenor of Swinburne and the tenor robusto of Shelley, to Shakespeare with his first bass and his fine range, to Tennyson with his second bass and his occasional falsetto, to Milton and Malowe, bassos profundo.  I gave ear to Browning chatting, Byron declaiming, and Wordsworth droning.  This, at least, did me no harm.  I learned a little of beauty—enough to know that it had nothing to do with truth—and I found, moreover, that there was no great literary tradition; there was only the tradition of the eventful death of every literary tradition …” —Maury in F. Scott Fitzgerald’s The Beautiful and Damned (Charles Scribner’s Sons, 1922)

apoetreflects:

“And so I turned, canny for my years, from the professors to the poets, listening—to the lyric tenor of Swinburne and the tenor robusto of Shelley, to Shakespeare with his first bass and his fine range, to Tennyson with his second bass and his occasional falsetto, to Milton and Malowe, bassos profundo.  I gave ear to Browning chatting, Byron declaiming, and Wordsworth droning.  This, at least, did me no harm.  I learned a little of beauty—enough to know that it had nothing to do with truth—and I found, moreover, that there was no great literary tradition; there was only the tradition of the eventful death of every literary tradition …”

—Maury in F. Scott Fitzgerald’s The Beautiful and Damned (Charles Scribner’s Sons, 1922)

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